SKU: BT.DHP-1023244-404

ISBN 9789043168465. English.

Edited by acclaimed educator Philip Sparke, these exciting method books with online audio access for beginners contain songs, music puzzles, games to increase your understanding of music, information about your instrument, andlots of fun pieces to playâ??either with the audio tracks provided or with other students. Books include helpful diagrams and fun illustrations throughout.

SKU: BT.DHP-1002005-404

ISBN 9789043165792. English.

Edited by acclaimed educator Philip Sparke, these exciting method books with online audio access for beginners contain songs, music puzzles, games to increase your understanding of music, information about your instrument, andlots of fun pieces to playâ??either with the audio tracks provided or with other students. Books include helpful diagrams and fun illustrations throughout.

SKU: PR.11540231F

ISBN 9781491108413. UPC: 680160636907. 9x12 inches.

The High Songs, a commission from 12 bands across the country, became a 24-minute suite for Amplified Cello and Chamber Winds of five movements, an instrumental song cycle featuring the solo cello in high tessitura. The calm opening (Nepenthe) is followed by a big band evocation (Moto Perpetuo). Pann further explores the ensemble with Passacaglias and Adjusting the Torque (a nod to fellow composer Michael Torke), then finishes the suite with a simple Song for Heidi, which features a piano duet. When Carter Pann writes a substantial work exploring the vitality and colors of the wind ensemble, the results are guaranteed to be ravishing.

SKU: HL.50511776

ISBN 9790080144855. K/4 quer (31 x 23,5 cm) inches. Hungarian, English. Zsolt Serei.

In view of its arrangement Serenade, written for horn and chamber orchestra of fourteen instruments, may be regarded as a chamber concert. The one-movement piece written on command of horn player Laszlo Rakos is at the same time related to the notturno music of the 18th-19th centuries. It is a character piece in which a subdued, subtle irony makes itself felt alongside the characteristically night-time atmosphere. The solo role of the horn is obvious throughout, though the initial impetus is not sustained, and in the course of the movement the instrument falls silent. The instruments of the accompanying group join in with the horn in three ways: the clarinet, the English horn, the bassoon, the viola, the violoncello play the melodies of the horn, delicately repeating them, supplementing them or slowing them down, the flute, the violin, the trumpet and the double bass counterpoint the horn?s solos or hold dialogues with it, the third group ? the harp, the guitar, the vibraphone, the cimbalom and the piano ? plays soft, veiled, evenly progressing harmonies. In the last section of the piece, when the first and second group of instruments are no longer playing, these veiled sounds hold together, their rhythm gradually breaks up - the sound environment is reduced, progressively emptied. World premi?re: June 2, 1993, Budapest, Laszlo Rakos - horn, Componensemble, cond. Zsolt Serei.

SKU: PR.41641613L

UPC: 680160642199. 11 x 17 inches.

On the island of Elba, off the coast of Italy, I composed this work as the sun was rising over the ocean in the mornings and gently sifting through the clouds against the lingering fog. As the piece developed, it took on a shape of its own and gradually became centered around diminished chords and the interval of a tri-tone (diminished 5th). I love these chords for their angst and for their sadness, but also for their flexibility. My piece is very textural in nature; and yes, it does have a melody of sorts, and yet, this melody comes and goes, and is never quite grasped until the end. Portions of it are repeated and spun out creating layers of sound without the heaviness of form. It is indeed a depiction of mist, where one minute you see things and the next they are gone. As you move through the piece, you find that the trumpet is also an antagonist, creeping in with a haunting cry; a reminder of things unsettled. Throughout the piece, we are quietly searching. We search for a tonal center for stability, and also for a melody that will make us feel fulfilled. Once found, we hold them for an instant, and then like the clouds and like life itself, they are gone. We are warmed by their presence and saddened by their loss. I hope that you will reflect upon your own memories of life's quiet moments as we enjoy the world premiere of this new work together. Mist is not a piece to be analyzed, but rather a piece to be experienced and absorbed. As you listen, release your mind, embrace your emotions, close your eyes, and allow the mist to creep in.

SKU: BT.AMP-363-400

ISBN 9789043138161. 9x12 inches. English-German-French-Dutch.

Part of the Anglo Music Play-along Series, Philip Sparkeâ??s 15 Easy Classical Solos is aimed at the young instrumentalist who can play just over an octave. Specifically tailored to suit the individual instrument, this book introduces the beginning player to the world of the classics by using simple yet attractive melodies that fit their limited range. The carefully selected pieces include music from the 16th to the 20th century and cover a wide variety of styles, from Bach to Grieg and from Purcell to Satie. This book will provide invaluable additional material to complement any teaching method and includes both piano accompaniment and a demo/play-along CD.

Philip Sparkeâ??s 15 Easy Classical Solos, onderdeel van de Anglo Music Play-Along Series, is bedoeld voor de jonge instrumentalist die iets meer dan een octaaf kan spelen. Het boek sluit qua instrumentaal bereik en gebruikte toonsoorten aan bij het Artist Level van Hal Leonards Essential Elements ®, maar kan ook los daarvan worden gebruikt.De zorgvuldig geselecteerde melodieën, die specifiek zijn toegesneden op elk instrument, beslaan een breed scala van klassieke stijlen: van Bach tot Grieg en van Purcell tot Satie.Het boek bevat waardevol materiaal ter aanvulling op elke lesmethode en wordt geleverd met pianobegeleiding en een cd met demo- en meespeeltracks.

15 Easy Classical Solos ist als Ergänzung zur bewährten Anglo Music Play-Along Reihe gedacht und richtet sich an Schüler, die ungefähr einen Tonumfang von einer Oktave beherrschen. Das Niveau entspricht dem des Artist Levels der Essential Elements ® Methode von Hal Leonard, kann aber auch unabhängig davon verwendet werden. Genau auf jedes Instrument zugeschnitten, ermöglicht die wohlüberlegte Stückeauswahl ein erstes Kennenlernen von Melodien aus verschiedenen Epochen der Klassik von Grieg über Purcell bis Satie. Jeder Band bietet wertvolles Ergänzungsmaterial, das zu jeder Instrumentalschule passt und enthält sowohl Klavier- als auch CD-Begleitungen.

15 Easy Classical Solos, de Philip Sparke, est un ouvrage qui sâ??adresse aux jeunes musiciens, maîtrisant un peu plus dâ??une octave. 15 Easy Classical Solos a été conçu pour être joué en corrélation avec les séries Artist et/ou Master Level de la collection Essential Elements ®, publiée par les éditions Hal Leonard. Mais il peut également être utilisé indépendamment.Spécifiquement adapté chaque instrument, ce volume rassemble quinze mélodies écrites par des compositeurs aussi variés que Bach, Purcell, Grieg et Satie.Comprenant les parties dâ??accompagnement de piano et une version dâ??accompagnement sur compact disc, ces ouvrages représentent une sourcecomplémentaire inestimable toute méthode pédagogique.

Il concetto della collana Anglo Music Play-Along Series è quello di integrare al più presto nel processo di apprendimento dei giovani strumentisti la possibilit di poter suonare accompagnati al piano o con lâ??ausilio di unâ??incisione su CD. Il chiaro vantaggio di questo metodo è che gli allievi imparano da subito lâ??aspetto fondamentale del suonare insieme, vale a dire tenere il tempo in modo costante. 15 Easy Classical Solos consente agli allievi che hanno una conoscenza limitata delle note di suonare brani di Bach, Schubert, Purcell, Grieg e altri, grazie alle versioni facilitate. Il livello di 15 Intermediate Classical Solos permette invece agli allieviche padroneggiano lâ??estensione superiore a unâ??ottava di cimentarsi nei â??primi concertiâ? con brani di Haendel, Clementi, Rameau, Glueck, Beethoven e altri. Il CD propone una traccia con lâ??incisione completa e una con il solo accompagnamento.

SKU: PR.446413390

UPC: 680160667383. 9 x 12 inches.

Concertino is about relationships and how they change over time. My first goal in writing the piece was to create two distinct characters, in this case the Oboe and English Horn. The Oboe begins with a berceuse-like melody, while the English Horn's entrance is more ambiguous and rhythmically jagged. Over the course of the piece, these two characters interact through a variety of musical settings, their material or personalities continually developing. The strings, more than mere accompaniment, provide commentary on the dramatic action, much like a Greek chorus. They establish each musical scene, interact with the two woodwinds, and further develop the musical material. And while there is a strong concertante element in the piece, it is essentially chamber music. There is a conversational quality, a sense of give-and-take between everyone involved that makes the two woodwinds first among equals as opposed to featured concert soloists. Each of the eight instruments has something unique and important to say.
Concertino is about relationships and how they change over time.  My first goal in writing the piece was to create two distinct characters, in this case the Oboe and English Horn.  The Oboe begins with a berceuse-like melody, while the English Horn’s entrance is more ambiguous and rhythmically jagged.  Over the course of the piece, these two characters interact through a variety of musical settings, their material or personalities continually developing.The strings, more than mere accompaniment, provide commentary on the dramatic action, much like a Greek chorus.  They establish each musical scene, interact with the two woodwinds, and further develop the musical material.  And while there is a strong concertante element in the piece, it is essentially chamber music.  There is a conversational quality, a sense of give-and-take between everyone involved that makes the two woodwinds first among equals as opposed to featured concert soloists.  Each of the eight instruments has something unique and important to say.

SKU: PR.41541141L

ISBN 9781598064476. UPC: 680160610983. 11 x 17 inches.

On the heels of his Slalom, which has enjoyed numerous performances as a new staple for bands, Pann has created a major three-movement magnum opus, a triptych of sound paintings, as he would describe it. My Brother's Brain encapsulates a lifetime appreciation of both uniqueness and similarity in a younger brother, through three stages of growth (child, facing demons, grace). Symphony for Winds My Brother's Brain was a joint commission by more than two dozen wind ensembles throughout the United States. For advanced ensembles.

SKU: PR.16500092L

UPC: 680160039531. 11 x 17 inches.

Zion is the third and final installment of a series of works for Wind Ensemble inspired by national parks in the western United States, collectively called Three Places in the West. As in the other two works (The Yellowstone Fires and Arches), it is my intention to convey more an impression of the feelings I've had in Zion National Park in Utah than an attempt at pictorial description. Zion is a place with unrivalled natural grandeur, being a sort of huge box canyon in which the traveler is constantly overwhelmed by towering rock walls on every side of him -- but it is also a place with a human history, having been inhabited by several tribes of native Americans before the arrival of the Mormon settlers in the mid-19th century. By the time the Mormons reached Utah, they had been driven all the way from New York State through Ohio and, with tragic losses, through Missouri. They saw Utah in general as a place nobody wanted, but they were nonetheless determined to keep it to themselves. Although Zion Canyon was never a Mormon Stronghold, the people who reached it and claimed it (and gave it its present name) had been through extreme trials. It is the religious fervor of these persecuted people that I was able to draw upon in creating Zion as a piece of music. There are two quoted hymns in the work: Zion's Walls (which Aaron Copland adapted to his own purposes in both is Old American Songs and the opera The Tender Land) and Zion's Security, which I found in the same volume in which Copland found Zion's Walls -- that inexhaustible storehouse of 19th-century hymnody called The Sacred Harp. My work opens with a three-verse setting of Zion's Security, a stern tune in F-sharp minor which is full of resolve. (The words of this hymn are resolute and strong, rallying the faithful to be firm, and describing the city of our God they hope to establish). This melody alternates with a fanfare tune, whose origins will be revealed in later music, until the second half of the piece begins: a driving rhythmic ostinato based on a 3/4-4/4 alternating meter scheme. This pauses at its height to restate Zion's Security one more time, in a rather obscure setting surrounded by freely shifting patterns in the flutes, clarinets, and percussion -- until the sun warms the ground sufficiently for the second hymn to appear. Zion's Walls is set in 7/8, unlike Copland's 9/8-6/8 meters (the original is quite strange, and doesn't really fit any constant meter), and is introduced by a warm horn solo. The two hymns vie for attention from here to the end of the piece, with the glowingly optimistic Zion's Walls finally achieving prominence. The work ends with a sense of triumph and unbreakable spirit. Zion was commissioned in 1994 by the wind ensembles of the University of Texas at Arlington, the University of Texas at Austin, and the University of Oklahoma. It is dedicated to the memory of Aaron Copland.

SKU: PR.44641192L

UPC: 680160610860. 11 x 14 inches.

One of my greatest pleasures in writing a concerto is exploring the new world that opens for me each time I enter the sometimes alien, but always fascinating, world of a solo instrument or instruments. For me, the challenge is to discover the deepest nature of the solo instrument (its karma, if you will) and to allow that essential character to guide the shape and form of the work and the nature of the interaction between soloists and orchestra. In recent years, many of us have become more aware of the musical world outside the Western tradition of musics that follow different procedures and spring from other aesthetics. And contemporary percussionists have opened many of these worlds to us, as they have ventured around the globe, participating in Brazilian Samba schools, studying Gamelan and African drumming with local experts, collecting instruments from Asia and Africa and South America and the South Pacific, widening our horizons in the process. I will never forget our first meeting in Toronto when Nexus invited me into their world of hundreds of exciting percussion instruments. The vast array of instruments in the collection of the Nexus ensemble is truly global in scope as well as offering a thrilling sound-universe. I was inspired by the incredible range of sound and moved by the fact that so many of these instruments were musical reflections of a spiritual dimension. After long consideration, I decided that it would not only be impossible, but even undesirable for this Western-tradition-steeped composer to attempt to use these instruments in a culturally authentic way. My goal was an existential kind of authenticity: searching instead for universal ideas that would be true to both myself and the performers while acknowledging the traditional uses of the instruments. Since many percussion instruments are associated with various kinds of ritual, I decided that I would allow that concept to shape my piece. Rituals is in four movements, each issuing from a ritual associated with percussion, but with the orchestral interaction providing an essential element in the musical form. I. Invocation alludes to the traditions of invoking the spirit of the instruments, or the gods, or the ancestors before performing. II. Ambulation moves from a processional, through march and dance to fantasy based on all three. III. Remembrances alludes to traditions of memorializing. IV. Contests progresses from friendly competition games, contests to a suggestion of a battle of big band drummers, to warlike exchanges. In the 2nd and 4th movements, another percussion tradition, improvisation, is employed. Written into these movements are a number of seeds for improvisation. Indications in the score call for the soloists to improvise in three different ways, marked A for percussion alone; marked B for percussion with and in response to the orchestra; and C where the percussionists are free to add and embellish the written parts. These improvisations should grow out of and embellish previous motives and gestures in the movement.